Homesick and Happy to Be Here

Better Looking; 2002

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If you caught this little blip in the mid-90s, you must have had a pretty sensitive radar, or at least an intense interest in what was going on over at legendary house of twee-focused Sarah Records. Aberdeen existed for a time back then as a duo-- a couple and their trusty drum machine cranking out a couple EPs of shimmery pop. And then they vanished, the victim of relationship tensions that lead to a five-year hiatus.

And now they're back, reconvened with an expanded lineup and a long-awaited full-length that shows them no worse for the wear from the time off. In fact, if anything, they've improved considerably by expanding their sound (a human touch at the drum kit adds immeasurably), introducing dynamics and a certain lushness that just weren't there before. Above all, Homesick and Happy to Be Here sounds great, an inviting, warm listen that sounds especially good with a cold wind whipping outside.

The members of the band retain a certain degree of anonymity, withholding their surnames in the liners and press materials, and it seems fitting enough for a band this approachable to be known only by their first names. The album opens with the sleepy "Handsome Drink", wherein vocalist Beth, draped in a haze of reverb, aptly declares, "I can't wake up," in the chorus. From there, Aberdeen take off on a tear through an endlessly naïve world of post-adolescent love, full of crushes and likely lots of heavy petting. It works well with the music, but if you spend too much time reading the lyrics it might make you a bit sick (plus, the grammar is pretty atrocious in the booklet).

Regardless, Beth's understated vocal delivery fits it perfectly, whether she's telling you about a flagging relationship or just reeling off some la-la-la's. Behind her, the band largely alternates between slow, contemplative arrangements and peppier backings that usually turn out a lot more satisfying. "Sink or Float" and "Sunny in California" are loose, laidback pop songs that nevertheless move at a rapid clip, and both rank among the album's best entries. Elsewhere, "Clouds Like These" makes good use of loungy Latin rhythms and sparser instrumentation.

Yet, for all its successes, there are moments where the album doesn't quite hit-- for instance, the wandering "Thousand Steps", which just isn't bold enough to support its slow pace and meandering structure, and winds up getting lost in the background. The next song, "Homesick", seems ready to follow suit at first, but saves itself with a sharp dynamic shift near the end and a more thoughtful arrangement.

It's difficult to say if Aberdeen are back for good with this release, but I certainly won't register any complaints if they are. Homesick and Happy to Be Here is hardly a landmark or some sort of masterpiece, but it's still highly enjoyable, and that's ultimately what's important with music like this. If you're looking for an easy-going album with a strong melodic core, Aberdeen might be worth the trip.